Gladiator 2 recaptures the grandeur of ancient Rome, echoing the epic scale of the 2000 original. Directed by Ridley Scott, the sequel leans heavily into grand action, however, it lacks the emotional depth that made its predecessor unforgettable.

Set over two decades after Gladiator [2000], the story follows Lucius (Paul Mescal), now called Hanno, who lives as a soldier in Numidia until General Marcus Acacius (Pedro Pascal) invades, forcing him back into the Roman Empire. Under Macrinus (Denzel Washington), Lucius re-enters the brutal arena, ultimately driven to challenge young emperors Caracalla (Fred Hechinger) and Geta (Joseph Quinn) to fulfil his father Maximus’s vision of a Rome free from slavery.

The word Gladiator evokes emotions and memories of Russell Crowe in the Ridley Scott film. There has been an entire generation of audience that has grown up to love Gladiator and watched it multiple times. Unfortunately, the new film not only fails to match up to the original but also disappoints on multiple fronts.

Here’s the trailer:

The sequel delivers action, gore, and an electrifying score that elevates the viewing experience, but none of this compensates for the lack of emotional resonance. Unlike the original, which skillfully pulled emotional strings, Gladiator 2 fails to evoke a lasting impact. Family reunions and Lucius’s separation from his loved ones lack poignancy, leaving viewers uninvested. The story, while epic in scale, is too predictable and lacks nuance, with a few twists that genuinely surprise you.

When Lucius loses people close to him, one is supposed to feel empathetic towards him, but it hardly stirs any emotions. Perhaps the delay and the writers’ strike in Hollywood are to be blamed, or maybe it is just lazy writing.

The hand-to-hand combat scenes of Gladiator made the film a unique experience in 2000. While the action scenes in Gladiator 2 are good, they don’t add up to the experience people had while watching the Russel Crowe original.

David Scarpa keeps the screenplay more or less linear with flashbacks connecting the dots. The only interesting character in Gladiator 2 perhaps is that of Denzel Washington as Macrinus, who plays to the gallery. He is covet in his tactics and is driving the politics in the narrative. But it isn’t enough. The revelation of Lucius being the Prince of Rome is hardly startling for us or the Roman Empire.

Performances by the cast are great. From Paul to Denzel to Pedro, everyone knows the stakes are high, and they are pitch-perfect with their dialogue delivery and action-packed performances. However, without a strong emotional core, Gladiator 2 can feel like a chore, with its two-and-a-half-hour runtime dragging to feel even longer.

The challenges of making a follow-up to a cult classic film are multiple. While Gladiator 2 has a few moments that work, overall, the inevitable comparisons to the original prevent it from becoming a wholesome new experience.

2.5 out of 5 stars for Gladiator 2.

When you tune into a cozy Christmas rom-com, you can expect a few things. Lots of snow. A quaint small town that seems unstuck from time. A plucky heroine who owns a small business but, for whatever reason, is alone this holiday season. And a hunky man who is the magical answer to her loneliness. The new Netflix film “Hot Frosty,” starring Lacey Chabert and Dustin Milligan, has all of the above and a much deeper understanding of how mutual respect and personal growth can be just as hot as lusty love at first sight. 

Set in the impossibly small town of Hope Springs, the film begins with a narrator letting us know from the start that we are in a “Christmas Fairytale” as a magical burgundy scarf blows across the snowy town square. We then meet Kathy (Chabert), who lives alone in a slightly dilapidated Victorian home. A photo of a couple on the mantle and Kathy’s sad demeanor indicate she has recently loved and lost. Kathy owns a diner, Kathy’s Kafe, which serves as a social hub for the community. She seems to feed everyone in town, including Mel (Sherry Miller) and Theo (Dan Lett), who own the vintage store across the square. Mel bequeaths the magical scarf to Kathy, telling her it’s time to go back out into the cold in order to find some warmth. 

What Kathy finds instead is a chiseled snowman amongst the snow sculpture competition on the square. The wistful Kathy takes in this snowman Adonis, the only Christmas creation without a scarf around its neck. Always one to give to others, Kathy places the scarf around its neck. After she leaves a flurry of snow and CGI brings the sculpted snowman, fully nude aside from the tastefully large scarf, to life. That night Jack (Milligan) names himself after the name tag on a pair of coveralls he steals from the vintage store. The next morning he is taken in by Kathy, who hides him from the town Sheriff (Craig Robinson) and his Deputy (Joe Lo Truglio), who are looking for the streaker who broke the store’s window. You might think you can guess where the film goes from here. 

And you’d be partially right. While two form a bond as Jack attempts to lay low from the law, none of their interactions feel forced for the sake of shoehorned romance, instead the film largely focuses on the strength that can be found in a meaningful friendship. Milligan plays Jack with the same wide-eyed, big-hearted puppy dog energy that he brought to Ted, the vet with a heart of gold on “Schitt’s Creek.” While he could have gone big with this magical character in the vein of Will Ferrell in “Elf,” Milligan chooses a more laid-back sweetness, reminiscent of Brendan Fraser in “George of the Jungle” or Jeff Goldblum in “Earth Girls Are Easy.” Although his ridiculous good looks become a sort of joke as the town’s older women, Lauren Holly amongst them, lust over his physique, they aren’t really a factor in the burgeoning relationship between Jack and Kathy. 

When Jack first comes to life, it seems the only word he knows is ‘love.’ He loves the snow. He loves soup. He loves her. Kathy pushes back, insisting that when you say you love someone, it means something much more. Jack listens intently, taking it all in. As he slowly learns how Kathy lost her husband, the gravity of what she said sinks in, and he learns truly what it means to love someone. For her part, Chabert plays Kathy understated, a woman with a big heart heavy with grief—someone who keeps going for the sake of others but has practically given up on herself. Meeting someone like Jack, whose whole existence is to fill the world with joy and lend a helping hand where he can, gives her a ray of hope once again. Together, they grow as people first and a couple second. 

That’s because romantic love is not the only kind of love on this film’s mind. It knows that love of one’s community, of one’s neighbors, and most importantly of oneself, is important and fulfilling. As Jack learns more about the world, he begins using his skills to help others. Cooking dinner for Kathy escalates to learning how to fix her leaking roof to slowly becoming the town’s handyman. Inspired by Kathy’s own altruism, Jack decides helping others is worth the risk of being caught by the Sheriff. Despite his mysterious origins the town itself just accepts him, snowman or not, rallying to keep him safe. As one woman puts it, “A man that sweet must be magical.”

A top tier holiday film in its own right, the film has the requisite nods to previous films in the Netflix Holiday Movie Universe, including a mention of Aldovia from the “Christmas Prince” movies and a tongue-in-cheek moment where Kathy watches “Falling For Christmas” and notes that the star (Lindsay Lohan) looks “just like a girl she went to high school with.” In terms of its themes and overall quality, it reminded me of the excellent and underrated time travel romance “The Knight Before Christmas.”

Like that earlier film, “Hot Frosty” is goofy and sweet and magical. It knows exactly who its audience is and gifts them with a perfectly cozy Capra-esque fantasy where romance is founded in friendship and respect, communities rally around their most vulnerable, people are willing to call cops out on their abuse of power, and mutual aid is just a way of life. Sounds like bliss to me. 

Sydney Sweeney, since her breakout role in HBO’s “Euphoria,” has worked to prove she has much more to offer than just her looks.

The “White Lotus” actor in recent years has diversified her portfolio to showcase her acting chops and flexed her muscles as a producer with films “Immaculate” and “Anyone but You.” Despite her efforts, the 27-year-old star says, she feels Hollywood’s outward support for female creatives — especially from other women with well-established careers — has just been lip service.

“This entire industry, all people say is, ‘Women empowering other women.’ None of it’s happening,” she told Vanity Fair in an interview published Wednesday. “All of it is fake and a front for all the other s— that they say behind everyone’s back.”

Sweeney, founder of Fifty-Fifty Films, called out Tinseltown’s alleged faux feminism months after “Father of the Bride” producer Carol Baum dismissed her star power.

Speaking in April at a New York screening of her 1988 film “Dead Ringers,” Baum said “[Sweeney’s] not pretty, she can’t act. Why is she so hot?” Sweeney’s team swiftly hit back, lamenting “that a woman in the position to share her expertise and experience chooses instead to attack another woman.”

“If that’s what [Baum’s] learned in her decades in the industry and feels is appropriate to teach to her students, that’s shameful,” a spokesperson for Sweeney told The Times in April. “To unjustly disparage a fellow female producer speaks volumes about Ms. Baum’s character.”

Baum reportedly felt regret over her remarks, but the sting has clearly remained for Sweeney.

“It’s very disheartening to see women tear other women down, especially when women who are successful in other avenues of their industry see younger talent working really hard,” Sweeney said in Vanity Fair’s 2025 Hollywood issue.

This sense of competition and the tendency to discredit and shut out other women might be a feature in Hollywood and not a bug, Sweeney said. Though it might be a “generational problem,” she said, women grew up believing that only one woman can succeed, whether that woman is getting the man or climbing the ladder. “There’s only one one woman who can be, I don’t know, anything,” she added.

Sweeney, who did not reference Baum by name, told the magazine she’s just trying her best to continue making a name for herself. Still, she asked, “Why am I getting attacked?”

Years before the Baum insult, the two-time Emmy nominee had been candid about her journey to Hollywood, telling The Times in 2022 that it had been far from easy. For a while, she said, she had just been “fighting, fighting, fighting [for jobs].” When she began acting in her teen years, the stress of growing up also came with industry pressure.

“When you’re 16 and you don’t really like yourself, and you’re trying to figure out what the hell is gong on in your body and your makeup and your hormones, and people are telling you that you’re not good enough — that weight is so heavy,” Sweeney said at the time.

While Sweeney might feel unsupported by other women in Hollywood, she told The Times she can rely on her parents “who, no matter what, believed in me.”

Times staff writer Nardine Saad contributed to this report.